Jazz Drum Transcriptions - an educational resource - newest transcription: Birdland - drums: Alex Acuña

bpaluzzi said:
Having said that -- I do find using the stems-up version in the first few exercises in a beginner-level can be very helpful -- get students to think explicitly about how those limbs line up.
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Absolutely. Good example would be Jim Chapin's Advanced Techniques for the Modern Drummer. At the beginning of each chapter - the initial exercises were all written as standard notation - then in a smooshed together version - to such just what you describe... The map of how the gears of it fit together.... the whole "together - RH - RH - LH - together - together" illustration.

Essential for learning independence - but not at all practical for general reading. So once providing that key to get the process started - he quickly dispenses with it. Knowing that part of learning independence is learning how to look at two rhythmic parts and knowing how to fit them together. The instruction set for how to do that is something the player must learn to bring to the table when reading something.... just like piano players do. Actually just like we are expected to do with stickings - which are 99% of the time left to the player to figure out - or just know on the fly.

bpaluzzi said:
But once you move past the basics, you're thinking more in terms of rhythmic "words" or "sentences", not about the actual 16th note grid of each limb. Scan it quickly "oh, it's upbeats on the left foot". "8th and 2 16ths kick pattern". For me, the increase in scannability (specifically, it's SIGNIFICANTLY easier to pick out those "words" when you don't have to look "through" the hand notation to get to the note flag) is so extreme that I easily come down on the "100% bottom" camp.
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Again for me - not 100% - but parts always stemmed in a way that maximizes that "being able to easily read the "words"" as you describe.
 
Timo-Germany said:
@dcrigger

Hello David,

thank you very much for your very detailed statement. I must admit, from so many angles I have not looked at it at all, a thousand thanks for that! I also see it absolutely not dogmatic and am very happy to read the experiences of such a seasoned drummer.
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Fantastic - so glad you took it all that. I'm just trying to be here to help - not beat anyone up - or win any arguments just fr the sake of winning them. Great and you are more than welcome.
Timo-Germany said:
I fully agree with you that rhythmic relationships are of course much clearer when they are presented separately from each other, you mentioned 3 against 2 as an example of this. There I am completely with you!

You write, if I understood correctly, that you prefer to read the feet with note stems down and the hands with note stems up. How do you feel about combining the feet and, for example, the left hand of a right-handed person in order to notate, for example, a swing rhythm with stems up and the corresponding second voice with the note stems down? Wouldn't that also help the readability of the different rhythms?
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Great question - and my bad... as I tried to explain that very thing, but never should've dug into such an involved notational discussion while relying entirely on text description - when notation works so much better. (But it always seems like more work - and it was late.... blah, blah, blah.

Yes - using the very simple example I referred to in text

Monophonic version -

notation A.jpg


Hands up - Feet down version - which really works great when the hands are both in repeating pattern - leaving most of the variation in bass drum.

notation B.jpg


The alternative being what you are suggesting - making the HiHat the ostinato and the BD and SD parts as one sort of melodic idea.

notation C.jpg


Obviously in this example - it makes no difference. Both are equally easy to read. And often both will be used within the same chart - being dictated from section to section by whatever seems to be clearer or easiest to read.

For example - here's an example of something that I don't think works that well as "hands up - feet down

notation D.jpg


It is all there - but the varied snare drum hits clouds the fact that hat is simply playing 1/8ths - something that should always be as easy to discern as possible. And by making the BD and SD two different syncopated rhythms makes it harder to see how they work together as well. So I would find it much easier to read notated as the alternative you are suggesting...

notation E.jpg


Anyway hope that helps... Personally I can geek out over notation all day, so feel free to continue the discussion in anyway you wish... or not. :)

Have a great day -

David

 
Thank you for this detailed presentation. I am still of the opinion that in direct comparison the monophonic version is not so bad. Sure, the rhythmic pattern of the individual instruments is lost, I can see that. making the hi-hat the ostinato and the bassdrum and snaredrum parts as one sort of melodic idea makes total sense to me and this notation I also use often, thanks to our exchange rather probably much more often in the future than before.

I don't think we're as far apart as we originally seemed. :)

I'll add one more thought. I always try to emphasize the pulse clearly in the notation, which is why I always join two, rather than four eighth notes in a 4/4 measure. What is your opinion on this?
 
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Yes - there are rules to this (not at all limited to just drums - but for all instruments) and I think it speaks more to the concept bpaluzzi referred to of "words". In other words, which fragments can be seen and recognized as single words - and which end up being too long and then read like wordsjustruntogether.

Regarding 1/8ths and 1/16ths, it is generally considered that groups of 4 notes beamed together are easier to read (and in the past, less time consuming to write) than writing them in pairs. That seems pretty obvious when it comes to 16th's - having the beam break at every beat as you suggest.

8th's are different - and this goes back to the historical preponderance of the use of cut time or 2/2. Basically beaming 4 eighths is quite acceptable - and easy to read. With one big caveat....

And that's the rule to "as much as possible" always try and "show beat 3" (when in 4/4 time that is).... all of this is much in the way that we use punctuation, capitalization, etc... to make text easier to read. All of these things make things easier to read....

For instrumentalists, that is. Notation for classical singers traditionally uses no beaming at all - just flags on each individual note. I'm sure there is a reason for this - but one by product is that choir singers are notoriously bad at reading rhythms....

So here's some examples of this stuff...

notation 2.jpg
 
@dcrigger: Comprehending the comparison notes like letters, words, sentences and so on, one of the most important aspects of note theory and that is also what I try to teach all my students.
Seeing your examples, it all makes sense.

Thank you for this lesson!
 
Dear Community,

my "Real Book Drumming" YouTube series goes into a new round, with one of the most brilliant fill-ins in jazz history.


In this video, it's the first 34 measures (excluding the eleven-bar prelude with piano and bass) of the piece "So What," composed by Miles Davis, recorded on March 02, 1959 in New York City for the Miles Davis album "Kind of Blue." On drums James "Jimmy" Cobb.Jimmy.

Cobb's drumming on "So What" is a masterful example of restrained and tasteful playing. His ability to maintain a steady, unobtrusive, yet simultaneously driving pulse throughout the track while still contributing to the overall structure and mood of the music is quite cinematic. One noticeable thing right at the beginning is that Cobb plays the first theme (AABA) in his right hand on a ride cymbal with a broom and holds a stick in his left hand. One of the most standout moments in Cobb's playing on "So What" is just before the trumpet solo. Here, Cobb plays a beautiful fill-in that serves as a transition to the trumpet solo. What is particularly impressive about this fill-in is its simplicity, musicality, and precision. The combination of the sounds of the broom and sticks in the fill-in blend beautifully with the character of the piece. Cobb doesn't try to make a big show of himself, instead he provides just the right momentum and energy to drive the music forward at that point.

I hope you enjoy it!

@dcrigger: I have changed the way of my notation. I am open for feedback. :)
 
Hey everyone, I'm excited to share my latest drum transcription of "Question and Answer" by Pat Metheny, featuring the incredible drumming of Roy Haynes! This tune is a classic in the jazz world, and Haynes' drumming on the original recording is simply amazing.


"Question and Answer" is a classic ¾ time piece by Pat Metheny, featuring the complex and refined drumming of none other than drummer Roy Haynes. Released in 1989 as part of the album "Question and Answer", the piece has a fast-paced and energetic melody, which Roy Haynes supports perfectly with his precise and agile playing. From the first beat, Haynes' way of playing the ride cymbal, with its intricate patterns and polyrhythmic embellishments, and the stepped articulate hi-hat interjections, provides a driving beat and lays the foundation upon which the rest of the band can easily build, always being in service of the song. Overall, Roy Haynes' drumming on "Question and Answer" is a masterpiece of jazz drumming. His technical prowess, musical sensibilities and creative flair combine to create a unique performance that stands the test of time.

Whether you're a jazz drummer or just a fan of great music, I think you'll find this transcription to be a valuable resource. So head over to my channel and give it a watch! And while you're there, don't forget to subscribe for more great drum transcriptions and lessons.
 
Hello dear community! I'm pleased to share my latest video featuring a drum transcription and performance of the first 36 bars of "Fee-Fi-Fo-Fum" by Wayne Shorter, played by the legendary Elvin Jones. Jones' drumming on the original recording is simply incredible beyond compare.


For those interested in studying Jones' playing, I highly recommend my video on my YouTube channel. In addition to the transcription, I also play the piece to give some insights into Jones' playing.

Wayne Shorter's album "Speak No Evil" is one of my all-time favorite albums, and Jones' drumming is a big reason why. His use of polyrhythms, dynamic range, and musical sensibility is truly inspiring, and I hope my transcription and performance can help others better understand his genius.

So check out my channel and while you're there, don't forget to subscribe to my channel to hear more drum transcriptions and performances.

Thank you!
 
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Hey everyone! I'm excited to share my latest video, a performance and drum transcription of "Song for My Father" by Horace Silver, featuring the drumming of Roger Humphries.


This piece is a jazz classic with an infectious groove and a memorable melody. Roger's drumming blends elements of jazz, funk and Latin rhythms to create a unique and exciting sound. I've transcribed the first 56 bars note for note of his performance and I can't wait for you all to check it out. Follow the link to watch the video and let me know what you think in the comments! While you're there, don't forget to subscribe to my channel to hear more drum transcriptions and performances.

Thank you!
 
Dear Community,

my educatioal "Real Book Drumming" YouTube series has grown. I transcribed the first 44 bars of „Milestones“ by Miles Davis of Philly Joe Jones drumming.


In the video, I perform my transcription of 44 bars of Philly Joe's playing, showing his use of the bass drum and swinging ride cymbal pattern.

"Milestones" is a landmark recording that marked a significant shift in jazz, with its modal approach and innovative use of harmony. It features a powerhouse lineup with Miles Davis on trumpet, John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and, of course, Philly Joe Jones on drums.
 
Dear Community,

my educational "Real Book Drumming" YouTube series has grown. Please don't miss my latest YouTube video for which I have fully transcribed and perform the drumming of the legendary Sonny Greer in the first recording of "Take the 'A' Train" by Duke Ellington.


The original 1941 recording is a true classic and it's a pleasure to break down and perform such an important piece of jazz history. I must admit that my transcription is more of an interpretation in many places, because due to the recording technology of the time, we are talking about 1941, many nuances of Sonny Greer's drumming are not very well visible. However, I have tried to do justice to Greer's playing to the best of my knowledge. For example, I'm pretty sure he uses a brush pattern that was applied by many swing drummers of that era. In addition, I assume that he later switches from brushes to sticks, and then first accompanies on a half-open hi-hat, after which he switches to a ride, in my opinion, but it could also be a china or a swish cymbal, which was patented by Zildjian in 1940. Due to the quality of the recording, it is difficult to say. I hope you will still find fun in my video and can select something for you.

Thanks for watching!
 
Dear Community,

my educational "Real Book Drumming" YouTube series has grown. Please don't miss my latest YouTube video for which I have fully transcribed and perform the drumming of the great Denzil Best in the famous version of "Autumn Leaves" by Erroll Garner. Denzil Bests drumming on this recording is a perfect example of how less can be more in jazz.


Denzil Best's drumming on this recording is a masterclass in subtlety and finesse. His tasteful use of brushes on the snare and cymbals, combined with his precise and understated fills, perfectly complement Garner's piano.

Thanks for watching!
 
Hello dear community,

my "Real Book Drumming" YouTube series is going into a new round.


In this video, it's the first 40 bars of the jazz standard "Solar" by Miles Davis, composed by Chuck Wayne, recorded on April 3, 1954 for the album "Walkin'". The drumming on this recording is by the legendary Kenny Clarke.

Kenny Clarke's brush playing on Solar is wonderful. He sets a relaxed and swinging groove from the start, playing with a light touch and lots of nuance and texture. Throughout the piece, Clarke's playing supports and drives the rest of the band, providing a steady pulse, but also leaving room for improvisation.

As one of the pioneers of bebop drumming, Clarke's contributions to jazz are immeasurable. I hope this video inspires you to take a closer look at his playing and the art of brush playing.

Thanks for watching!
 
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Timo-Germany said:
Dear Community,

I have started a YouTube series called "Real Book Drumming" on my channel, which is always expanding. The Real Book is the bible for all jazz drummers. "Real Book Drumming" is meant to be a learning tool, an aid for aspiring jazz drummers. I transcribe the drum part of the original recording and then play to the themes of the songs, the transcription follows the video for better understanding. Please check my channel.


I look forward to a lively exchange.

Thanks for your time!
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Nice playing...Love It!
Good Luck with the channel..
 
Dear Community,

my next transcription should be "Summertime".

Which version of this standard would you like to have transcribed?

I am looking forward to your suggestions.
 
Some jazz for the weekend!


I transcribed the first 44 measures of "Stella by Starlight" as played by the great drummer Roy Haynes when he recorded this piece with saxophonist Stan Getz in 1952. "Stella by Starlight" is a beautiful jazz standard originally written by Victor Young for the movie "The Uncanny Guest." It became one of the most played pieces in jazz and has inspired many famous performers.

I tried to capture Roy Haynes playing, who is one of the most influential and innovative drummers in jazz. He has played with many legends, such as Charlie Parker, John Coltrane, Thelonious Monk and Chick Corea. He is still active and will be 97 years old this year (2023)!

I hope you enjoy my video!

Please share it with your friends and subscribe to my channel for more videos. I appreciate your feedback and suggestions.

Thank you for your interest!
 
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